Panpan
SELECTED JOURNAL ARTICLES AND BOOK CHAPTERS IN ENGLISH
“The Animation of Inanimate Objects in Chinese Silent Cinema.” In Chinese Animation: Multiplicities in Motion, edited by Daisy Du, Yiman Wang, and John Crespi. Cambridge, Massachusetts: Harvard University Asia Centre, forthcoming.
“Moving Images as Curatorial Methods: Animation, Interactive Digital Installation, and the Reincarnation of Traditional Chinese Art.” In Exhibiting Chinese Art in Asia, edited by Selina Ho. Amsterdam: Amsterdam University Press, forthcoming.
“Xu Bing’s The Character of Characters and the Possibilities of Calligraphic Animation.” Archives of Asian Art, (Spring 2024), 65–79.
“Repositioning Excess: Romantic Melodrama’s Journey from Hollywood to China.” In Melodrama Unbound, edited by Christine Gledhill and Linda Williams, 219–236. NY: Columbia University Press, 2018.
“Fan Xuepeng.” In Women Film Pioneers Project, edited by Jane Gaines, Radha Vatsal, and Monica Dall’Asta. NY: Columbia University Libraries, 2017.
“Rotoscoping Body: Secret Dancers, Animated Realism and Temporal Critique.” Spectator, 36.1 (2016): 33–42.
“Xiaoqingxin Film as the Possible Prospect for Taiwanese Popular Cinema.” IAFOR Journal of Asian Studies, 2(1) (2016): 74–84.
“Animating Landscape: Chinese Ink-and-wash Animation, 1960–2013.” International Journal of Comic Art, 16 (2014): 380–397.
SELECTED JOURNAL ARTICLES AND BOOK CHAPTERS IN CHINESE
生死之間：電影中的靜照與時間書寫 [On the Cusp Between Life and Death: The Still Photograph in Cinema and the Question of Temporalities].當代電影[Contemporary Cinema], 9 (2022): 32-39..
電影與媒體研究的空間轉向 [The Spatial Turn of Film and Media Studies].當代電影 [Contemporary Cinema], 3 (2021): 18–23.
夢逐潮聲去——“冷戰”格局下的潮語戲曲片 [Teochew Opera Film in the Cold War].當代電影 [Contemporary Cinema], 7 (2017): 140–143.
當學術主體性進入影史寫作領域——從“華語電影”爭鳴說起 [When Subjectivity Enters the Field of Film History].當代電影[Contemporary Cinema], 5 (2017): 27–32.
重演的雅努斯時代：電影、學術與人文精神 [The Janus Age Once More: Film, Academia and Humanism].思逸：文藝文化研究期刊[Siyi: A Journal of Arts and Culture],vol. 1 (2015): 4–6.
眾聲喧嘩與艱難起步：中國動畫研究的現狀與展望 [Existing Scholarship and Prospects of Chinese Animation Studies]. 電影藝術[Film Art], 359 (6) (2014): 39–42.
跨越敘事藝術的藩籬：論《紅樓夢》的跨媒介改編 [Crossing the Boundaries of Arts: Trans-media Adaptations of Dream of the Red Chamber]. 紅樓夢學刊 [Journal of Dream of the Red Chamber], 6 (2014): 63–84.
風格的矩陣，生命的呼吸：從《大象》看電影創新之路 [The Origins of Originality: The Case of Elephant].電影評介[Film Comment], 432 (2011): 40–42.
從湯顯祖到《紅樓夢》的美學延承：以“香菱學詩”爲核心 [From Tang Xianzu to Dream of the Red Chamber: A Study of Xiangling Learning Poems]. In 北大社團學術作品合集 [An Anthology of Academic Works of Peking University Associations], edited by Peking University Youth League Committee, 188–193. Beijing: Peking University Press, 2010.
EDITED JOURNAL ISSUES
Special Issue: “The Digital Humanities.” Journal of Chinese Cinemas, expected 2024.
Special Issue: "When the Shadow Flickers: The Moving Image in Contemporary Chinese Art." Journal of Contemporary Chinese Art, co-edited by Jiehong Jiang, expected 2025.
TOOLKIT E-BOOK
Toolkit: When True Love Came to China (London: Screen Worlds), 2024.
https://screenworlds.org/.../when-true-love-came-to-china/
ARTIST BOOK
Handscroll, 2024. Concept and Poem by Panpan Yang. Relief printing by Diyou Yu.
BOOK REVIEWS
“Review of China in the Mix: Cinema, Sound, and Popular Culture in the Age of Globalization.” China Review International, 24(1) (2019): 71–74.
爇情光影与历史褶皱 [Review of Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945]. 當代電影[Contemporary Cinema], 4 (2016): 199–200.
SELECTED PUBLIC-FACING ARTICLES AND INTERVIEWS
楊槃槃對話周聖崴 [Interview: Panpan Yang in Conversation with Shengwei Zhou]. 深焦 [Deep Focus], August 13, 2018.
《女他》與物動畫的前世今生 [SHe and the Secret Life of Object Animation]. 深焦 [Deep Focus], June 21, 2018.
2017年國產動畫記 [Chinese Animation 2017]. 澎湃 [The Paper], February 1, 2018. https://www.thepaper.cn/newsDetail_forward_1975969
再看《新白娘子傳奇》: 信物, 唱段，與愛情的第二種結構 [The Legend of White Snake: Tokens, Singings, and the Second Structure of Romance]. 虹膜 [Iris], 96 (2017).
訴不盡的《滾滾紅塵》[Red Dust]. 虹膜 [Iris], 79 (2016).
阿涅斯·瓦尔达:「新浪潮恐龍」的三重生命[The Triple Life of the French New Wave Dinosaur]. 虹膜 [Iris], 62 (2016).
虛假記憶與懷舊變奏: 也談《大聖歸來》[Prosthetic Memory and Varied Nostalgia: Monkey King is Back].虹膜 [Iris], 48 (2015).
菊石遺痕：管窺楊德昌《追風》的動畫美學 [Traces of Ammonites: Animation Aesthetics of Edward Yang’s The Wind]. 虹膜 [Iris], 45 (2015).
《輝夜姬物語》: 當時間溢出[When Time Spills Over: The Tale of Princess Kaguya]. 虹膜 [Iris], 35 (2015).
SELECTED TRANSLATIONS (CHINESE TO ENGLISH)
Bai Jingsheng, “Throwing Away the Crutch of Drama [丟掉戲劇的拐杖].” In Chinese Film Theory and Criticism, edited by Guo-juin Hong, Jason McGrath, Victor Fan and Hongwei Thorn Chen. Amsterdam: Amsterdam University Press, forthcoming.
Eileen Chang, “On the Future of Cartoons [論卡通畫之前途].” Association for Chinese Animation Studies (ACAS) online publication. http://acas.ust.hk/2018/01/21/on-the-future-of-cartoons-1937/
SELECTED TRANSLATIONS (ENGLISH TO CHINESE)
Wu Hung, 中國繪畫的媒材與形式 [Medium and Form in Chinese Painting]. In 第一堂课：在哈佛和芝大教美术史 [The First Class: Teaching Art History at Harvard and University of Chicago], 334-346. Changsha: Hunan Fine Arts Publishing House, 2020.
Dana Polan, 好萊塢二戰政宣片的風格規範與異象 [Stylistic Regularities (and Peculiarities) of the Hollywood World War II Propaganda Film]. 電影藝術 [Film Art], 4 (2015):94–100.
Richard Maltby, 標準展映合同和經典好萊塢電影未被譜寫的歷史[The Standard Exhibition Contract and the Unwritten History of the Classical Hollywood Cinema]. 電影藝術 [Film Art], 2 (2014): 126–132.